Synopsis The residence is held from Saturday 21 to Saturday 28 November 2009 where 19 cultural producers between artists, theorists, activists and archivists, local and international participated. This house was part of the program only with Natura, conceived by the artist Larissa Marangoni guayaquileña general objective that seeks to promote the cultural development of municipalities in the province of Guayas and Santa Elena. Puerto El Morro is the third edition, the first was held in Santay Island (2007) and the second in Limoncito (2009). The selected municipalities possess great natural wealth, potential for eco tourism development and overall lack of visibility at the local or national level. We characterized its cultural diversity and retain great ancestral tangible and intangible heritage is its value for addressed. In many cases lack basic infrastructure, education levels are low as well as health indices. The specific objectives of Natura are only to promote the active participation of the population in the generation of meaning, content and knowledge from the tools proposed for contemporary art; accompany and support and monitoring of projects launched in the residence that were appropriated by the community. Residence Puerto El Morro was coordinated by curator Maria Fernanda Cartagena. The concept was handled and determined the payroll of the participating artists favored the formation of contact zones that led to experimental communities composed of artists and residents where experimental, collaborative, collective and participatory exercises were developed symbolic. Artists spaces provided procedural experimentation and dialogue taking sense of ownership by the community. Making art objects by artists preconceived escaped, leading to the exchange of knowledge with the community. The selected artists who acted as mediators or facilitators "symbolic exercises" or "experimental workshop" had extensive experience in this line of work with groups or communities. The artists made visits prior to the residence that were led by Pedro Morales, President of the Commune, and got in touch with people, went into the context and this helped them to shape the work conducted field. Exercises activated during the 8 days of the residence were as follows. Fernando Falconi (Falco) assisted by Dalia Chevez and Maria Belen Granda worked a "living map" longhouse leaders, representatives of grassroots organizations and various stakeholders. A printed satellite photograph of 2 x 4 m. served as an axis to promote conversations with the inhabitants where attendees pointed needs, milestones, and potential conflicts of the past, present and future of the community. The meetings where multiple voices activated the map were made daily and a plenary session led by artist synthesized the work week. The map was in the roundhouse under the slogan that it is a useful tool for the community. Josie Cáceres, assisted by Pauline Leon, worked with children and adolescents, the idea of the body as a means of communication. The commune has a very long tradition of Andean folk dance practiced for generations and a lot of vitality. The workshops served to expand the possibilities of experimentation and communication through the basics of contemporary dance. Given the apparent interest in dance in the town and the interest aroused and host the workshop it was decided to support and strengthen this process in 2010 is envisaged to continue the development of dance theater workshops with a view to developing a staging . Ana Fernandez developed a workshop for women (adolescents, adults, elderly). A bar in the evenings commune became sewing workshop where each attendee embodied in a web personal history. This meeting place served to promote a social network for women, their experiences and needs. Mayra Estevez and Fabiano Kueva Ear Wild Experimental Centre with the assistance of Ana Maria Vela and Paulina Ramirez launched a community radio named by the locals as Porteñas Waves. During the 8 days they attended community orders, spread the agenda of different organizations, with different actors developed content and promoted the use of the device between different audio professionals and local radio. Experimental music workshops with children and weighers resulting in acoustic pieces that were recorded and given to the authors conducted. Given the impact, extent and felt need of the community for the project, is one of the priorities for 2010 and its accompanying implementation. Alejandro Meitin Plastic Ala organization based in Argentina, was an important partner during its extensive experience in community art projects in general and in particular eco-environmental initiatives. Contributed in the analysis of these experiences and their political, social and artistic connotations, aspects that are constantly aired during the Residencia, just to promote reflection on the place of art. I also proposed further mapping and interrelation of knowledge and organizations dedicated to environmental issues and territorial designing a bioregional actors satellite mapping. Recognizing that this issue is critical in contexts in which only Natura is intervening, it is necessary to support this proposal in 2010. They followed closely the way you work young artists Eduardo Carrera y Gabriela Bernal. Beyond the means, methods and technologies mobilized by each artist, it is worth noting the interplay of themes, issues and directions that emerged from the commune. They can be classified into three major themes: Memory, Land and Community. These cores are part of a vast constellation aesthetic-political reach to be surveyed, both visible and dimension at all levels, especially at the critical dimension. Involved three theorists, María Fernanda Cartagena, Kingman and David Manuel Gutiérrez (Colombia) who developed critical texts about the experience.